Breathing life into the most tragic love story of all, the one between Romeo and Juliet, has never been easy. Many tried to do what Baz Luhrmann magnificently did in 1996, but only a few prevailed. Whether it’s casting the most prominent names of the industry (Tom Holland as Romeo in Jamie Lloyds’ recent theatre adaptation), turning it into a full-blown musical (the successful Broadway and West End show & Juliet) or giving a minor character a lead role (Karen Maine 2022’s Rosaline), each director has tried to give their spin to the classic Shakespeare story. Timothy Scott Bogart is the latest on that list, as his Juliet & Romeo is now hitting the big screen. While there are a few wonderful twists and a delightful Clara Rugaard (Love Gets a Room, Black Mirror) as the titular female protagonist, this musical has too much glitter and autotuning to be convincing.
While Bogart is doing everything he can to give his unique spin to the decades-old tale – in this case, it means creating a modern-looking musical – it’s precisely that musical take that decreases this feature’s enjoyment and emotional impact. The emotional poignancy, the fiery clash between the Montagues and Capulets, and the life-or-death aspect don’t come through because of the too-polished music numbers. Every time someone bursts into song – which is much more than necessary – the film turns into a big pop music video. Glitz, glamour, lip-syncing, and autotuning are present in bucketloads, but there is no emotional impact or in-depth meaning.
The most frustrating part of those over-the-top songs isn’t the fact that they look out of place, but it’s the fact that they diminish Rugaard’s fantastic lead performance. We meet her Juliet when she returns home from boarding school. Home for her is the early 14th Century Verona. The city is riddled with rivalry and heated fights despite a peace treaty between her parents (Rupert Everett and Rebel Wilson) and Lord Montague (Jason Isaacs). Verona and this movie could benefit from more light and love, and that’s precisely what Rugaard’s Juliet brings to this feature.
This headstrong woman – you better forget about the fact that Juliet was 13 when she met Romeo – wants to create her future, no matter what her parents have planned for her. With the right amount of determination and grace, and later on in this feature, butterflies in her stomach, Rugaard’s take feels fresh, appealing, and warm. It’s only fair that her character is the first one in the title.
Whether or not the suave and slight bad-boy Romeo (His Dark Materials Jamie Ward) will sweep you off your feet as he does with Juliet depends on whether or not boy band singers are what your heart desires. Despite giving his best shot in trying to deliver a performance that oozes the same amount of love, tenderness, lust for life and insubordination, Ward’s Romeo feels much more like a singer auditioning to join the latest pop sensation. While his performance would perfectly fit in & Juliet – as the Montagues form a boy band mid-play – in this feature, it’s more a distraction than anything else.
Ward might not have been able to elevate his character to something new, but the supporting cast certainly could. Wilson’s Lady Capulet is much more multilayered than you would think, as she’s not only the devoted wife/mother but also a woman trying to navigate a male-dominated world. Many women, including herself, are unhappy with their role in society, but no matter how much they raise their voices, nothing is done about it. Despite not having much screen time, Wilson (The Hustle, Jojo Rabbit) can add the necessary energy and emotions. As her on-screen husband, Isaacs (Spinning Gold, The Death of Stalin) delivers the same intensity, sincerity and honesty.
At the same time, the humour is undoubtedly provided by Dan Fogler (Eric, Fantastic Beasts: The Secrets Of Dumbledore). His pseudo-rap song might not work, but at least his acting is a wonderful addition to the film. While the musical numbers and the much more contemporary-sounding dialogue take away the gravitas of Shakespeare’s writing, Derek Jacobi (The Tenth Man, Adam Resurrected) his vigorous Friar Lawrence gives this gimmick take on the original literary work some authenticity.
While we always applaud giving a creative and personal spin to a story done many times, Bogart strays just a little too far from the original central story. The dialogue feels too modernized and the bright and unflattering lighting makes this feature look like a cheap B-movie. Luckily, Rugaard and Jacobi save the day with dramatic and convincing performances.
Juliet & Romeo is out now in cinemas courtesy of Briarcliff Entertainment
While we always applaud giving a creative and personal spin to a story done many times, Bogart strays just a little too far from the original central story. The dialogue feels too modernized and the bright and unflattering lighting makes this feature look like a cheap B-movie. Luckily, Rugaard and Jacobi save the day with dramatic and convincing performances.
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GVN Rating
Subtitle translator by day. Film journalist by night.
